With 2017 a now a fading memory of political turmoil, social upheaval and high-profile perverts, we can at least look back at the year's musical output and say that it was a great one. As is the custom, we've put together a list of 40 notable releases from the previous twelve months that we think are worthy of praise.

“I get the feeling we are moving through a period of despair. Perhaps this is due to the state of the environment, politics, or dealing with being "social" in the electronic age. We are so frustrated, so exhausted...we don't have the energy or money to plan for the future.I wanted to write lyrics that people can related to, and music that would energize that to forge ahead.”

Thursday, 26 May 2016

Cynical Existence
started out as the solo project of Menschdefekt and Project Rotten's
Fredrik Croona and has slowly grown into a full band. Keeping one
foot in the harsh ebm and aggrotech of the project's birth, their new
release 'Through My Eyes' sees Cynical Existence continue to grow and
tweak it's sound with elements of edm, dark electro and metal coming
to the fore.

The three-track single builds nicely on from the
band's last EP 'Echoes' complimenting the slower, darker pace while
injecting the kind of big club-filler feel that a single should have.
The title track is a nice mixture of hard beats, catchy synth leads,
hard guitars framing Croona's tortured vocals nicely for a heavy but
still dance-friendly assault. 'Static' from the afore mentioned EP
gets a nice new club edit that sees the originals full dance
potential teased out a little more. Finally a remix contribution from
Benajmin's Plague again for 'Static' gives the song a completely new
twist with darker intro, throbbing bass, hard kicks and still
maintaining the metallic guitars for a great mix that will surely
find favour on dance floors.

In therms of production the
single is nice and solid with an emphasis on the dance-friendly
elements of the band's sound. It hasn't moved on too much from
'Echoes' and still doesn't quite have that spit and polish you'll
find on a lot of releases these days, but it is gritty and nasty
where it needs to be and that attitude is what counts for a lot.

This is a great single with some very nice remixes that
builds on the recent EP and shows a band continuing to grow and
diversify while still keeping the core appeal of their sound intact.
Any fans of harsh ebm or aggrotech will enjoy this.

In Death It Ends is an incredibly prolific
project. Wrapped in secrecy and with a minimum of information ever
released about any releases the project from former Rosetta Stone and
Misery:Lab man Porl King has created a unique monster from parts of
classic post-punk and proto-gothic/industrial and melded them with
modern witch house elements. The project has kept a steady visual
aesthetic through artwork and limited merchandise as well that has
reinforced the intrigue amongst fans.

'Servitors' is the
latest in a long-line of free releases from IDIE that recently have
become a get it while you can offer through the band's website. These
releases vary greatly in style with some more experimental, and some
more raw and punk in construction. But each one feels valid and
complete and not just something release for the sake of it.

The
new EP delves into experimental electronics with the five tracks –
'Kritanta', 'Sephtis', 'Morana', 'Valdis', and 'Lefu' – built
around a similar formula of a core of steady rhythms and bass lines
with retro analogue synthesizers breaking up the the entrancing
rhythms. The result is a nice retro flavoured new wave feel that
feels dark yet futuristic but characteristically haunting
atmospherically.

The production is great as usual. King
maintains a wonderfully low-fi feel to the recording but
simultaneously gives the album a nice sharp and modern edge with a
nice sense of space expressed by every track.

Again this is
another solid if short release from King that will appeal to
long-time fans as well as anyone into retro-flavoured post-punk with
a minimalistic experimental slant. It may be free but it is still a
high-quality addition to an already burgeoning back catalogue.

Wednesday, 25 May 2016

Angelspit return with their sixth full-length
album and first on new label Negative Gain Productions. 'Cult Of
Fake' sees Zoog and co return in ambitious form. The album is locked
and loaded with dancefloors firmly in its sight. Yet it retains a
deceptively complex construction that sees their signature crunchy
electropunk style revisit samples used in earlier recordings and
working them into a fresher and more modern sound. The lyrical
content is as witty and full of punk rock attitude as ever and there
are so many potential club tracks to choose from that long-time fans
will find this an easy album to get their teeth into.

Songs
such as 'Thanks For Your Cooperation', 'Cult Of Fake', 'New Devil',
'Out For Blood', 'Happy Murderland', and 'Disaster Porn' are crammed
full of big beats, dirty synth bass, sing-a-long lyrics and nasty
leads. While the likes of 'Breath', and 'My Little Blade' delve into
real old school 80s territory with 'My Little Blade' particular
resembling Fad Gadget to add a different slant to the track list.

The production is tight and fresh, geared up for dance
floors. B ut it is also a very listenable record. The lyrics are
great and meaningful, and the vocals remain nicely mixed throughout
so you still get the full benefit of their impact. That's something
that sometimes can get lost in albums with a strong dance agenda but
in this case it has balanced well.

'Cult Of Fake' is a great
album, easily one of the best Angelspit releases so far. There is a
great balance of industrial dance and vehement punk rock attitude
balanced out quite nicely across all the tracks. Long-time fans will
be able to pick this up with ease and it will undoubtedly still
attract new fans through casual listeners purely on the strength of
the songwriting and composition at work here. Definitely a must have
for industrial fans.

Tuesday, 24 May 2016

Ah the sweet sound of Scandinavian
misery. There is something about countries like Norway, Sweden, and
Finland that just means they can do melancholia so well. Katatonia
are one of those bands. For 25 years they have been exploring dark
forlorn musical realms. Taking their initial inspiration from the
British Doom bands Anathema, Paradise Lost and My Dying Bride,
Sweden's Katatonia quickly became a force to be reckoned with and by
the turn of the millennium albums such as 'Viva Emptiness' and 'The
Great Cold Distance' saw the band realise their full potential by
diversifying and progressing their sound beyond metal and cutting
into the heart of woe.

Fast-forward to 2016 and the band's
tenth studio album 'The Fall Of Hearts' is upon us. Building upon their
consistently strong and affecting recent output, the band continue to
blend doom metal with progressive elements, post rock and ethereal
atmospheres to reach deep into the soul and tease out the emotions.

Songs such as 'Takeover', 'Serein', 'Decima', 'Sanction',
'Last Song Before The Fade', 'Pale Flag', and 'Passer' are prime
examples of the band's songwriting prowess. The vocals of Jonas
Renske perfectly framed by driving rhythms, hard guitars and haunting
keyboards. The album has a much more pronounced progressive rock
sound than recent albums that benefits from the pop veneer of the
production without losing its metallic undertones. The overall effect
is not dissimilar from the late 90s output of Anathema but darker,
harder and more sombre.

The production, as mentioned before,
has a nice pop veneer to it and that's nothing to be scoffed at. This
is an album that balances metal, with prog rock and rests a crown of
ethereal atmospheres upon it for good measure, which is perhaps the
band's most accessible to date. Therefore the album needs, and quite
rightly gets the high quality modern production it needs to have the
songs sounding their absolute best.

The band's run since
2003's 'Viva Emptiness' has been an enviable one with a consistent
trend upwards in terms of quality of releases, and 'The Fall Of Hearts'
doesn't break this pattern. The progressive elements sound excellent
and add a greater dynamic to the band's atmospheric metal steeped in
sadness and loss but more complex and free in execution. Long-time
fans will not be surprised or disappointed with this.

Two years on from their
last full-length album Yorkshire's Rhombus return with a brand new EP
of gothic rock anthems more satisfying than a Sunday lunch with all
the trimmings. The band have been on an undeniable upward trajectory
since the release of 2010's 'Open The Sky' which saw the band firmly
consolidate their musical ideas which they continued to expand on the
'Anywhere' EP and 'Here Be Dragons' album over the following years.
In that time there has been a lineup change, but this hasn't held
them back or limited them. Instead the band push forward their ideas
and build on the solid foundation they have been toiling on over the
past few years.

'Purity & Perversion' – in particular
the Deluxe Version – is a great example of modern guitar orientated
gothic rock. The EP was originally released last year and the
original tracks have been re-recorded to include the vocals of
Alixandrea Corvyn and the track list expanded to include a brand new
track as well as a cover of Das Projekt's 'Adrianne Dances' and a
remix for good measure. It's enough to make you sweat.

Tracks
such as 'Mythos', 'Shimmer', 'Daylight', 'A Moment Today', and
'Written In My Eyes' are prime examples of the band's songwriting
ability and how it has continued to grow and expand, becoming more
powerful and dynamic while maintaining that core of grooving bass,
sharp riffs and the mix of male and female vocals. The band's cover
of gothic rockers Das Projekt's 'Adrianne Dances' takes the no frills
and somewhat basic gothic rock construction of the original and
rebuilds it into a track that is 100% Rhombus.

The production
sounds great throughout the album. The band sound huge throughout
every song and it is evident that they are learning with every single
release. The synthesizers and drums give the songs an epic sense of
space while the vocals, bass and guitars cut through the atmosphere
to drive the songs forward.

This is another great release
from a band that are solidifying their legacy as one of the country's
strongest gothic rock acts for a long time. Strong, powerful and most
importantly high qualirt, 'Purity & Perversion' is a must have
for any fan of gothic rock. Hopefully the band will be back with
another full-length release in the near future as well.

Thursday, 19 May 2016

I'm giving my editorial over this month just to
reflect back on the awesomeness that was Joy Division. At the time of
writing this it is the 36th
anniversary of the death of Joy Division vocalist Ian Curtis. And I
thought it would be nice to take stock and look at just why this
Mancunian band who were only active long enough to release a couple
of albums before having to evolve into an entirely new project are so
important to indie music.

Joy Division only released two
albums – 1979's 'Unknown Pleasures' and 1980's 'Closer' (which came
out after Curtis' death by suicide) – these two releases bridged
the anger of punk music with the high art of the post-punk scene and
infused the end result with tense, introspective lyrics coloured by
post-industrial decay. They were a benchmark for the indie scene that
was to come and were a big catalyst for what would become gothic
music.

The band's use of rhythmic bass leads, subtle hanging
synths, anguished guitars, cavernous sounding drums and Curtis'
distinctive paranoid bass-baritone vocals have been referenced by
bands ever since. Even as the band reformed and evolved under the
moniker of New Order – their change in direction to a more
dance-orientated sound would go on to provide the inspiration for the
more psychedelic sounds of Madchester and Acid House in the late 80s
and early 90s.

There was a purity to the Joy Division
formula. Their two albums and the later posthumous release 'Still',
which would tie together singles and other unreleased material, were
complete, succinct and valid artistic statements that struck a nerve
with audiences and critics. There was an undeniable raw passion at
play. Both album's forward-thinking style of production courtesy of
Martin Hannett have imbued the songs with a timeless quality that
puts them in the same regions as Bowie's Berlin trilogy.

Altogether
the band recorded 43 songs. Played 120 shows. And were in existence
for around 29 months. There are many bands who were their
contemporaries who outlasted them and have done a lot more to ensure
their legacies in the history of music. But Joy Division have still
been absorbed into the very fabric of British alternative music. Even
their aesthetics – the stark photography of Anton Corbijn, and the
design work of Peter Saville – provided the band with a strong
visual hook that is still recognised and reproduced today.

Arguably
Ian Curtis' death by suicide and the surviving members choice to
leave the Joy Division name behind when regrouping surrounded the
band in an alluring and tragic mythology. But mythology is only ever
on the surface. The influence of the band has been so great and so
long-lasting that it is hard to deny that they were just one of those
acts that comes along every now and then that just perfectly sums up
everything and expresses what you can't express.Anyway,
that's my meandering thought of the day on the anniversary of Ian
Curtis' death.

One last thing - if you
haven't already got them, go get our three download compilations FOR
FREE from out bandcamp – so much free music! What the
hell are you waiting for?!

Wednesday, 18 May 2016

The new
solo project from Ghost In The Static front-man and named after the
band's two part 'The Open Eyed Dreamer' album and EP, Steve Fearon
sets out on his own with a far more electronic path than previous. A
teaser of this direction was dropped in February with a rather
brilliant cover of Marilyn Manson's 'Dried Up, Tied, And Dead To The
World' and the EP expands nicely upon this.

The opening track
'Press Enter to Continue' has a dark martial element to it which is a
great introduction before dropping into a blend of eclectic
electronics that blend elements of ohGr and modern Skinny Puppy with
Infected Mushroom. There is a nice balance between hard dance appeal
and playful experimentation on tracks such as 'Simple People' and
'The Last Revolution'. While the likes of 'Waiting' (which also
features Mixe1 and Gary Walker) and 'The Final Photograph' show just
how far the music can be pushed.

For an EP this is a nice and
complete statement of intent. The songwriting is strong, confident
and not afraid to play with the listener's expectations. Lyrically
Fearon is at his most expressive. The songs play with influences from
ebm, synthpop, industrial, rock and techno and blends them into
something that feels fresh and modern.

The production reflects
this as well with the tracks having the kind of sheen to them that
you'd expect from any aqct packing dance floors these days. But there
is also a little grit in there, something a little punky and less
user-friendly that hints at the unexpected lurking just below the
surface.

This is a strong first step for this project. It has
a lot to offer and shows a lot of promise in the directions it could
possibly move. Hopefully Fearon will follow this up with a longer
release in the near future.

Tuesday, 17 May 2016

Started by
Mark Haigh in 2012 as a reaction to the death of a friend from
lymphoma, Beat:Cancer has through it's first two compilations and
subsequent live tours gone on to raise over £6000 for Cancer
Research UK. Now a registered charity in its own right, the third
volume in this successful compilation series returns boasting
exclusive and unreleased material from 40 acts across three CDs. The
album was officially released on 25th
March in partnership with AnalogueTrash Records at the final
Resistanz Festival and comes in a beautiful eight-panel digipak.

With 40 bands on the album it will be impossible to comment
on each one and still make this review concise, and the bands I've
picked out by no way represent the only good tracks. There is a lot
to explore and not much work count in which to do it!

The
album pulls together a range of bands from different electronic
genres be it industrial, ebm, synthpop/futurepop, aggrotech, noise
and just about everything in between. Bands such as Atomzero, ESA,
Freakangel, Syd.31, Cease2xist, V2A, Defeat, Machine Rox, Ruinizer,
MiXE1, and Ctrl Alt Del provide great club-friendly tracks that will
make this album essential for any club night.

While the likes
of Beinaheleidenschaftsgegenstand, D.E.P. vs MiXE1, Dirty K, Jet
Noir, and Tapewyrm, go deep and dark into more avant garde realms.
The compilation is a fine balance of genres that shows off the
talents of a range of new and established bands who all deserve
public support.

Despite the range of genres and recording
budgets that are on show here, the album has been mastered really
well so that there is no discernible drop in quality between tracks.
Also the track listing has been arranged nicely so that there is a
nice flow between songs and no sudden shock as one quite track is
bookended by walls of harsh noise.

This is not only an
essential compilation for any fan of alternative electronic music,
but it is a great cause that is visibly making a difference. This is
a cause that needs the support of the scene. The enjoyment that these
compilations and tours give to fans can only be repaid by putting
your hands in your pocket, getting the CDs and tickets and help to
beat cancer.

A sonic exploration of the
boundaries that separate worlds, Berlin's Grimrik blend amazing
synthwork with a cosmic sense of scope. The 80's retro sounds evoke
Vangelis and Moroder, while the dark atmospherics harken back to the
likes of Wongraven and era I Mortiis. The end result id not quite
dungeon music and not quite sci-fi fantasy. It is Tolkein meets
Lovecraft. The endless unfathomable void of space being harnessed
atop the tower of Isengard.

In one sense it is closer to
progressive electronics of Wendy Carlos and the Krautrock of
Tangerine Dream as much as the atmospheric synthesizers of the black
metal offshoot projects of the 90s. Songs such as 'Im Nebel', 'Der
erste Kontakt', 'Vor Dem Sprung', 'Vorsichtige
Schritte', and 'Letzte Zweifel' are delicate yet malevolent ambient
pieces that draw the listener into a near trance of swirling and
droning synths over which light melodies play in the cavernous space
created. While the likes of 'Teleportiert (Reprise)', 'Im freien Fall
(album version)', and 'Erlösung' add subtle beats and in the case of
the final track some epic guitar work to create tracks with a little
more drive and mass appeal that will entice more than just fans of
ambient music.

In terms of the production it is quite retro
in its flavours but still perfectly mixed and presented for a modern
listener. The 80s synth sounds and electronic drums in particular
sound like they have been pulled straight from a fantasy soundtrack.
However it doesn't sound cheap or low-fi. If this was an 80s fantasy
soundtrack it would have been a big budget one. And that's why this
album sounds fresh and engaging.

This is a stunning album
that anyone into progressive electronics, krautrock, dark ambient or
dungeon music will not fail to enjoy. The deep level of skill in the
songwriting and attention to detail in its execution make this a
deeply gratifying listening experience.

The thing about cultures is that they seem to divide, yet intertwine to become one and the same: the human culture.

It's something I kind of always had subconsciously understood, but never actually truly witnessed until my grand-mother's funeral last Saturday. The funeral home had a chapel, and in the chapel stood flag posts depicting every religion of the world.
Sort-of a multi-purpose room/chapel.

It dawned upon me that what mattered is not so much the place where the service occurs. What matters is what's in people's hearts. To each culture their own way of saying goodbye. But then, we're all saying goodbye.

Each culture has its rites, namely birth, the introduction of a human being in a family, a community, a culture; marriage, the union of 2 beings through love, bringing families together; and death, the ultimate rite of passage, bringing the human being into its next plane of existence.

What makes for the divide is the words used, the clothing worn, the gods worshipped, and the traditions observed. In other words, the richness of the diversity of the world. And then, true to the nature of humans evolving, we come to make our own traditions within our families, our friends, and our communities.

As I grow older, and observe the world itself growing older alongside, I often feel like the world, and human evolution, is at a crossroads. Like we're halfway between traditions that were there before the eldest people alive were even born, and a completely new world and human state of mind, with no points of reference to be found anywhere else but in the visions of the future from old sci-fi movies.

And then on one hand, you've got people embracing the concept of putting computer chips inside human bodies, and on the other, we've got more and more parents refusing vaccines for their children, claiming they do more harm than protection.
Halfway between grassroots and space station vacations.

Cultures everywhere are blending, or more like, anyone living in one of the major cities of the world is likely, at some point or another, to pick and choose elements of all the other cultures surrounding them, and make it their own. Figuring out what rings true inside, and what doesn't, and in the midst of all these cultures, finding who we really are.
Such is the core of human culture.

We breathe in life for the first time, and before we breathe it out for the last, well, we spend our time discovering ourselves, as individuals, in a culture, through a community, a family, a society. Our culture defines who we are, or rather, we define ourselves through the many cultures we choose to embrace.

So whether you're goth, punk or rockabilly, embracing practices in paganism, Buddhism or Hinduism, or which ever culture that strikes a chord inside, what matters is that through these, you find yourself and stay true to your heart.

For thirty years Rob Zombie has been presenting his
nightmarish vision of a sci-fi, horror, b-movie Americana nightmare
set to industrial electronics and metal guitars for thirty years.
First as part of alt metal darlings, and then as a celebrated solo
artist. Classic albums such as 'Astro-Creep 2000', 'Hellbilly
Deluxe', 'The Sinister Urge', and 'Hellbilly Deluxe 2' have assured
his place in the canon of modern metal heroes. He's also a pretty
good horror film director on the side.

Songs
such as 'Satanic Cyanide! The Killer Rocks On!', 'The Life And Times
Of A Teenage Rock God', 'Well, Everybody's Fucking In A UFO' (where
the band do their bast Primus impersonation), 'Medication For The
Melancholy', 'In The Age Of The Consecrated Vampire We All Get
High', and 'Wurdalak' fit into the Rob Zombie
discography with ease with their big beats, hard riffs, crazy use of
samples and sing-a-long vocals and addictive grooves courtesy of
easily the strongest musical line-up Mr Zombie has ever had in tow.

In terms of production it is top-shelf standard as you'd
expect from a major label artist. It has it's gritty crazy bits that
hark back to the early days but overall it's pretty crisp and modern
in its execution.

This is what Rob Zombie albums should be.
Long-time fans will have plenty to get their teeth into and new fans
will have a pretty good starting point from which to explore his
earlier solo efforts or dive back further into the White Zombie
years. There may not be the out and out classic cuts here that could
compete with 'Dragula', 'Superbeast', or 'Living Dead Girl' but as an
album it holds it's own against the strongest offerings in his back
catalogue and what is on offer here will certainly find spots in his
live set for a while to come.

from the mind of
Erik Gustafson of 16 Volt fame comes the dark electronic pop act
Adoration Destroyed release their sexy new single 'Carnal Dirge' on
Cleopatra Records. Blending modern edm influences with elements of
synthpop, darkwave, industrial, and ebm, the band present a fresh,
dark and sensually dance friendly sound that will appeal to fans of
classic acts as well as newcomers to the genre.

The title
track is a smouldering blend of steady dance beats, grooving bass and
rhythmic dance leads that will play well to dancefloors around the
world. The second track is a cover of Til Tuesday's 'Voices Carry'
which has a great rhythmic intro before going into a nice bass-heavy,
dark dance anthem. The single is completed with a remix of the title
track from their previous single, 'In Elegant Decay', courtesy of
Cynical Existence which adds a nice blend of harsh and melodic to the
original .

The production is tight. It is dark,
dance-friendly and the songs sound nice and modern while keeping an
air of classic appeal. To be honest though it is the level of skill
that you would expect from a project featuring members of 16 Volt and
Black December.

This is a great single featuring three great
tracks with instant appeal. The future looks bright for this dark
electro-pop project. The trio have the skill and the songs have the
quality they need to grab people's attention. Adoration Destroyed
will be one to watch.

Wednesday, 11 May 2016

'Baphometh' - Painting by Marilyn MansonRarely does an urban legend become a cultural trope and then become a major behavioural paradigm, but the Faustian myth did just that. Beginning with the legend of a Renaissance necromancer in Germany who reputedly sold his soul to the Devil in return for magical powers, only to have the Devil reclaim him on his death, the myth has become the standard all-encompassing story of the 'Faustian Pact' - doing business or working with the forces of moral evil for power, influence or riches, and losing your integrity, soul or purity as a result. But in many ways the story is even more important, representing the fundamental break on which all modern counterculture is based.The orgins of the story are, in an appropriately modern way, rather confused. As many as three different Faustus' were at large at the time, and the legends were attached to a lesser degree to all of them; likewise his birthplace, career and death are all subject to much conjecture. But the most comprehensive account of the real Faust (Leo Ruickbie's excellent biography 'Faustus: The Life and Times of a Renaissance Magician') explains that the behaviours assigned to him were really just the posthumous inventions of a jealous contemporary rival. So in one way, Faust was simply the victim of an epic diss - or a flame war, albeit one involving actual magicians and one therefore more likely to involve actual flames. It could be argued that Adam and Eve made the first Faustian pact in the Garden of Eden, in a rather raw deal involving a snake and an apple. But the difference is that whereas the concept of 'the original sin' is based upon a loss of innocence and a perpetual tendency to corruption, the Faustian ideal is about turning your back on the mainstream, on conformity, on 'virtue' as it is perceived at the time. As Czech film director Jan Svankmajer put it: "Sooner or later, everyone is faced with the same dillemma - either to live in conformity with the misty promises of institutionalised 'happiness', or to rebel and take the path away from civilisation, whatever the results". And it is this notion of rebellion, on turning your back on society and going your own way, which is at the heart of alternative culture; from Robert Johhnson's alleged deal with the Devil at the crossroads, to Led Zeppelin doing the same, to punk rock and goth and even the 'God of Fuck'. So yes - basically, Faust invented rock & roll as we know it. The founding myth of the Satanic roots of the blues, the fear of the 'devil's interval', the threat of sex or violence or drugs or perversion; all of them are based on the Faustian rejection of a mainstream mentality. Who didn't make their own Faustian pact when they first applied warpaint, torn clothes or spikes, and in some way made a silent commitment to the 'dark side' - that daunting concept that they were scared to travel towards?But there is a harder edge to the myth, too - that of the imperative to betray. Anyone can build a vast reserve of social capital from 'doing the right thing' (whatever that is), or being dependable, or by having integrity; but maybe this only makes sense when you throw it away. Don't we all have those moments when we think 'fuck it' and walk away, or walk on in? Maybe it takes a certain kind of idealism to seize the chance to sell out, to surrender to corruption, to invert our personalities. The true cultural creations of the Faustian myth are Don Giovanni, the Nietzschean ubermensch, Don Juan, Dracula, the supervillain, the megalomaniac, and the rock star - the Faustian that steps out into a blank, nihilstic void and creates themselves anew.The Faustian ideal is really just us opening the door of the church, peering into the sunlight, and going out to play...with a cruel glint in our eyes.

If
you've never heard of Al Jourgensen, you're either supremely well
adjusted, or have just been living under a rock since the early
1980s. The man of many bands and aliases has been the driving force
behind legendary acts Ministry and Revolting Cocks (amongst others)
for over thirty years and has been a big influence on a range of
industrial/metal acts around the world. Uncle Al is back with a new
project and album in the form of Surgical Meth Machine – a project
conceived with engineer Sam D'Ambruso in tribute to the late Mike
Scaccia whose distinctive shredding coloured the post 9/11 Ministry
sound.

Blending industrial metal, speed metal and even
psychedelic rock 'Surgical Meth Machine' is an uncompromising album
that plays fast an loose with elements of Jourgensen's considerable
discography while successfully crafting its own identity.

There
will always be strong comparisons to Ministry as Jourgensen's vocals
are distinctive and his penchant for breakneck speed, machine gun
beats and bombarding the mix with samples are all present and
correct. However with SMM it all sounds unburdened by the weight of
expectation that came with a long-time commitment like Ministry. The
end result is a clear-headed, focussed and streamlined barrage that
shows off some of Jourgensen's strongest writing in years.

Songs
such as 'I'm Sensitive', 'Tragic Alert', 'I Don't Wanna', 'Smash And
Grab', and 'Unlistenable' give the album a fast and strong backbone
of uncompromising riffs angry vocals and general Jourgensen-style
craziness. Then after a nutty cover of Devo's 'Gates Of Steel' things
descend sharply into psychedelic waters with 'Just Go Home' and
'Just Keep Going' providing a blend of Wax Trax! Era crazy
electronics mixed with dub which leads you into the slow and
unexpected come down that is the quite frankly brilliant 'I'm
Invisible'.

The album is bipolar in it's construction but
consistent in its execution. The rapid speed freak metal is sharp and
aggressive, and the slower and more electronic orientated tracks have
a laid back and casual feel to them. While being at opposite ends of
the spectrum these different sides to the SMM still manage to keep
some kind of unity.

'Surgical Meth Machine' is a brilliant
first step in what will hopefully be an exciting new journey for
Jourgensen. This album is his most diverse in his career to date and
the unexpected twist at the end shows he still has a lot of tricks up
his sleeve. Hopefully Surgical Meth Machine will be a going concern
well into the future.

Helsinki's The 69 Eyes have been
doing their part for good ol' fashioned goth 'n' roll since 1999. The
sleaze-glam-turned-goths have enjoyed international success as one of
the genre's most visible bands since their RoadRunner records debut
'Wasting The Dawn'. Now in 2016 the band return with 'Universal
Monsters' a move back to their more overtly gothic rock sound after a
few years dabbling with their early glam influences. The new album
sees the return of producer Johnny Lee Michaels who previously
worked with the band on their most definitive albums 'Blessed Be',
'Paris Kills', 'Devils', and 'Angels' that coupled with the evocative
Boris Karloff-like portrait of vocalist Jyrki on the cover and it
will be obvious to fans where the band are going with this one.

Musically the album bears a strong resemblance to 'Devils'
with a mix of hard guitar riffs and sombre gothic atmosphere
punctuated by Jyrki 69's deep vocal style. There is a mix of Danzig,
Type O Negative, The Sisters Of Mercy, and The Cult running
throughout which gives the band a lot of room to play with.

The
album kicks off with the singles 'Dolce Vita' and 'Jet Fighter Plane'
which both feature great riffs and catchy choruses that will
compliment the band's live sets nicely. Songs such as 'Miss Pastis',
'Shallow Graves', and 'Rock 'n' Roll Junkie' follow suit giving the
album its up-tempo accessibility for fans of their most recent
albums. While songs like 'Blackbird Pie', 'Jerusalem', 'Never', and
'Blue' push the gothic elements right to the front again.

The
production has that luscious edge that the band's definitive releases
kept intact. The harder and more metal elements still sound within
the keeping of the presentation of the album, whereas on the past
couple of albums their focused came off as a little more confused.

It would still be nice to hear a bit more of that slow and
thick gothic sound that made albums like 'Blessed Be' and 'Paris
Kills' such attention grabbing releases. But with 'Universal
Monsters' The 69 Eyes find a nice balance between their different
influences in a focused and consistent way that shall please almost
all of their fans.

Tuesday, 10 May 2016

The 'Broken' movie is one of those mythical artefacts of
modern alternative culture. Never officially released and widely
bootlegged in various incarnations the explicit film accompaniment to
Nine Inch Nails' 1992 EP of the same name was a holy grail amongst
fans. However in the post broadband world of the 21st
century web it has periodically become available to download and
distribute electronically. First to the net came the digital rips original early versions
derived from existing bootleggs that missed the odd piece of footage.
Then came the torrent by the anonymous “Seed0” (widely believed
to be the NIN front man himself Trent Reznor due to this post on the
band's site "12/21/06:
Happy Holidays! This one is a guilt-free download. (shhhh - I didn't
say that out loud). If you know what I'm talking about, cool.")
who also freely gifted a number of rare treats such as the 'Closure' DVD version to fans through The Pirate
Bay. This version of the film released by "Seed0" appears to be complete and in DVD quality which saw
a resurgence in its distribution in the NIN fan community. And now
the short film has found its way onto archive.org the time seems
right to review it.

So what exactly is the 'Broken' movie?
Well it is a short 20-minute long film shot partly cinematic and
partly in the style of found VHS footage which connects the promotional
videos from the 'Broken' EP (directed by Eric Goode, Peter
Christopherson, Serge Becker, and Jon Reiss receptively) with a vague
but graphic narrative. It' doesn't sound so bad does it? We've all now seen the videos for 'Pinion', 'Help Me I Am In Hell', and the
universally banned 'Happiness In Slavery', and while dark and
explicit by music video standards, they're no more un-watchable than
a lot of horror films out there. The 'Broken' movie does take things
a few steps further though.

The director is credited as Peter
'Sleazy' Christopherson of Throbbing Gristle/Coil fame, and aside
from a brief cameo appearance by Trent Reznor on the television
scree, the other actors identities are conjectural. The film opens
with a manically grinning character about to be executed by hanging
and as the trap door opens the footage cuts to amateur looking film
of someone driving around. The “n” from the EP cover and the
title “Broken” are shown as a glass overlay on the footage. The
car approaches a young man and the film cuts to him tied to a chair
gagged and being forced to watch a TV as the video for 'Pinion'
plays.

The scenes begin to escalate in severity between and
sometimes in the middle of the music videos with the young man being
forced to drink from a jerrycan, being revealed with a dark substance
smeared on his face, implied sexual violence. The finale of the film
sees the killer finally mutilate and kill the young man in a frenzied
manner while footage is shown of two cops searching the premises
uncovering a previous victim and a sign saying “Trespassers Will Be
Eaten” set to the music of 'Gave Up'. The footage cuts back to the
execution as the character of the killer drops with an very long rope
down a black shaft until the rope tightens. We then get the “n”
from the EP displayed again and after another 30 seconds of black
screen we see the killer's head comically flying across the screen.

The violence shown is sadistic and graphic, but the effects
are very much of their time and reminiscent of the low-budget video
nasties of the 1980s. The film as a whole frames a darker narrative
that can't help but affect future listening of the musical content of
the 'Broken' EP. And while the sexual slant to the on-screen violence
is certainly cringe-inducing, many Hollywood films in the years since
have shown much more crude and visceral scenes.

Nine Inch
Nails completeists will no doubt already have this release burned to
a DVD already. But for those of a curious nature, this isn't some
great mystery that underpins the 'Broken' and 'Fixed' EPs in any significant way.
It is a dark oddity, a curio, and morbid footnote. The eerily shot
amateur style VHS footage with it's rapid glitches and washed out colours
is a strong counterpoint to the slick shot cinematic monochrome that
frames it. From a technical standpoint it is a very well shot and well-edited piece of film,
though the interstitial footage's reliance on graphic depictions
removes any need for deeper analysis beyond what is seen. As a horror-exploitation
film it is as an interesting piece with limited appeal. But as
a lost/unreleased part of Nine Inch Nails' crazy early years it will
always have a draw for their considerable fanbase.

Friday, 6 May 2016

Berlin's Ancst have been flying the flag for blackened crust
since 2011 and their new album 'Moloch' is a fine muster point for
believers to rally behind. With elements of black metal, crust and
post-hardcore simmering the band present a frantic and urgent sound
that grabs you by the collar and spits venom at you. The band's
strong anti-fascist, anti-sexist, and anti-religious themes set their
sights on the politics modern living and eviscerate them with savage
disregard.

Ancst may have only been around for a few years
but they have already amassed a treasure trove of releases to dot, so
they certainly know what they're doing here. The band can be compared
to the likes of Iskra, Cara Neir, Downfall Of Gaia, and Tragedy in
certain respects with the strong blend of hardcore punk and black
metal intertwining with melodic moments but still with a pointed
ferocity.

Songs such as 'Moloch', 'Skies Of Out Infancy',
'Strife', 'Human Hive', and 'Lys' typify the band's strongest
combination of elements – the blasting drums, heavy riffs, tortured
vocals and flailing grooves – which sound absolutely fierce and
propel the album along.

In respect to the production it does
favour the treble which makes the drums sound a little thin in places
and allows the bottom end to become swamped. This is a fairly
standard issue though that occurs throughout crust and black metal
though and it its just a matter of preference that doesn't detract at
all from the songs themselves.

'Moloch' is a short, sharp
attack that means business. It is relentless in it's aggression and
crammed full of the kind of tracks that will have you starting a pit
in a supermarket. The band have honed their sound well and the
performance and execution of this album is seriously tight. This will
be an act to keep an eye on over the years.

Thursday, 5 May 2016

With classic lack of foresight I upgraded myself from punter to critic whilst travelling on the East Coast mainline to London without having even the vaguest outline of which bands I wanted to see. But, undeterred I dropped my bags off at my Kings Cross dive hotel and headed out to Camden to feast my senses on the Desertfest 2016 experience.First up were Egypt at the Electric Ballroom, with the American power trio so keen to start that they had to be told to leave the stage and come back on 15 minutes later! When they eventually began the crowd were treated to a feast of bluesy riffage, starting with 'Valley of the Kings' and ending with a ten-minute wig-out of the raunchily upbeat 'Dirty Witch' by way of the standout track of their set - a wonderfully mellow 'Queen of All Time', which went from smokey lead lines to heads-down doom stomping. Following that were another trio, Sweden's Asteroid. Less compressed and overdriven, their sound distinguished by clearer riffs and hectic fills, the suitably attired chaps had a cocky and exuberant blast as they romped through a divine demonstration of stoner rock, ending with a gorgeous rendition of 'Time'.There then followed a sudden change of musical gear as the rather heavier Crowbar took the stage for a brutal but musically sparse set, demonstrating fierce riffola and a monochrome delivery that impressd the crowd at the increasingly rammed Ballroom. Following them were Friday's headliners Corrosion of Conformity, whose blend of desert rock and hardcore hit the right spot. Rather a minority interest in their heyday, CoC can now command a room full of devoted (and young) followers - your correspondent was lectured by a young fan in the toilets asking if I'd heard anything by 'Corrosion' ("only 25 years ago", I replied) - and on the strength of this performance, deservedly so.Saturday kicked off with Leeds' very own Bong Cauldron. Now, I may be rather biased having seen the lads play so many times (and I'd probably go to Tory Party conference if they were on) but their performace to a packed Underworld was simply extraordiinary - slower and heavier than a supertanker, and full of killer riffs such as 'Bury Your Axe in the Crania of Lesser Men', Bong Cauldron are surely on their way to bigger and better things in the world of Doom.Back at the Ballroom, Conan collectively tore a hole in the cosmos with their incomparably brutal set. With old classics like 'Hawk As Weapon' mixing it with newer, faster cuts such as 'Foehammer' and 'Revengeance', they appeared to be exactly the act Desertfest was made for. Battle Doom? Yes please!Meanwhile over at the Dev, one of the least spoiled corners of Camden's former gothic splendour, My Project Ghost were just wrapping up a set of much juicy extremity.Sunday kicked off with the rather mighty Witchsorrow at the Ballroom. With a set so crunchingly loud that it got my skull shaking, they served up one of the best performances of the weekend - droning low riffs and hard delivery, wrapping a bleak message of hopelessness and doom, this was the closest I'd seen them match the power they promised at Damnation 2012 all those years ago. A set which boded well for their durability on the UK doom scene. Blood Ceremony, however, were even better. Having been on tour for weeks they were professional as Satan and polished to a shine, showcasing material from their new album 'Lord of Misrule' as well as lesser-played tracks like the sublime 'Drawing Down The Moon'. Singer Alia O'Brien's vocal virtuosity as well as her skills on organ and flute elevated the set firmly into the occult stratosphere, the crowd lapping up a sound that combined retro doom riffing with gothic ham stagecraft.And then it was off to Koko with all the stampeding doomy hordes for Electric Wizard. As difficult as it is to analyse a sound so immense and dense as the Wizard's, it would appear that in contrast to their punchy and punishing set at Damnation their sound was slightly looser, fuzzier, and trippier - the result being a deliciously accessible and entertaining mammoth of sludge which had the crowds in doomy rapture. No encores given (in classic Wizard style) but none required, as all were fully satisfied and probably stunned by their full-on sonic assault. Peerless.

The Drowning are easily one of the
best death doom bands the UK has produced since the early days of the
Peaceville three. Along with contemporaries such as My Silent Wake,
Tor Marrock, and Ghast they have been keeping the fire of Welsh
extreme metal burning bright amidst the gloam. Now 2016 sees the
Cardiff lads return with a new vocalist in the form of Matt Small and
a new album to put their name on the map.

'Senescent Signs'
is an impressive blend of dark doom and death doom that recalls the
likes of Paradise Lost, Anathema, My Dying Bride, and The Blood
Divine. Both hauntingly melodic and savagely brutal the band's
musicianship is pushed to the extremes. Small's vocals fit like a
glove and the band sound as tight as they ever have.

Songs
such as 'Broken Before The Throne', 'Betrayed By God', 'House Of The
Tragic Poet', 'When Shadows Fall', and 'The Lament Of Faustus' are
prime examples of the strongest song-writing in the band's
discography to date with great riffs, beautiful keyboard
embellishments, and heavy but sing-a-long vocals coming together to
create a varied sprawling vision.

The songs tend to be around
the ten-minute mark in length which makes them a weighty listening
experience. But the band are quite adept at holding the listener's
attention and changing things up where they need to.

In terms
of production the songs sound great. The bottom end is nice and thick
and the vocals sit correctly in the mix no matter what style brings
to the table. It's a straight-forward, no-nonsense and solid
presentation that shows the band at their best.

The Drowning
are a band whose name should carry more weight than it does, and
hopefully this will be an album that sees their stock increase.
Despite having a new vocalist, there is no sense of the band feeling
things out here. They have gone in strong and executed a great
selection of tracks that will appeal to any doom metal fan.

Three years on from the band's last –
and for a time it was thought final – album 'Anathema, Californian
industrial black metal outfit Dawn Of Ashes return with their
heaviest assault to date. The break must have reinvigorated the fire
in the band's collective guts as their latest outing, and second
release for Metropolis Records, hits hard and fast with a blistering
blend of aggrotech influenced industrial and necro black metal
pushing the band to the extremities of their sound.

The
aggression is front and centre to hammer home the band's now familiar
blend of horror and occult themes. Searing symphonic and hellektro
leads crash into maniacal guitars and thunderous drums while vocalist
Kristoff Bathory hisses like a demon crawling from out of the abyss.

Tracks such as 'Tribe Of Chemosh', 'Still Born Defect (The
New Breed)', 'Fire Of The Phoenix', 'Bleeding Perfection', and their
cover of Nine Inch Nails' 'Last' personify the band's renewed
intensity effectively and keep a strong core to the album that sees
it hurtle past at break-neck speed.

While the likes of 'Rise
Of The Ancient East', 'Malleus Maleficarum (The Hammer Of The
Witches)', and 'Valhalla' explore the more symphonic and soundscape
orientated side of the band's songwriting to add more depth to the
aggression.

The production is thick and heavy. The band have
been ably steered by the experience of Mick Kenny (Anaal Nathrakh)
who combines the band's catchy electro leanings with their all-out
aggression with ease to find a balance that will appeal to long-time
fans as well as those just coming to the band.

This is a
great album that sees the band at their most ferocious in years. The
harder metal core still holds dominance over the band's sound,
however the electronics are balanced quite nicely so as still to keep
their industrial legacy intact. Hopefully the band will maintain this
energy into a follow-up sooner rather than later.

Wednesday, 4 May 2016

Noir – the new musical vehicle of
Athan Maroulis (Spahn Ranch, Black Tape For A Blue Girl) – laid out
a sublime amalgamation of dark cabaret and dance-friendly industrial
on his début album 'Darkly Near'. The album perfectly combined the
two paths that have characterised his past endeavours and blended
them with a retro-futuristic portrait of New York City, the result of
which was one of the most unique releases of 2013. Fast-forward to
2016 and Maroulis is back with 'The Burning Bridge' a new EP, released in dedication to the late David Bowie, that
builds on the formula of the first album and throws in a couple of
surprises for good measure.

The first track 'The Burning
Bridge' is a brilliant blend of dark electronics, gothic atmosphere
and pure dance appeal that blends the power of latter-day Spahn Ranch
with a mature and modern finesse that should dominate club playlists.
The second track, 'Same Old Madness', is a cover of an obscure
Ministry track that turns the original synthpop into a darker and
more decadent sounding expression of post-millennial geopolitical
anxiety.

'The Chauffeur', originally by Duran Duran, takes
the thin and minimalistic synthpop and transforms it into a sinister
and sleazy number that you can get your teeth into. The final track
is a live radio performance of the utterly sublime cover of Roxy
Music's 'In Every Dream Home A Heartache' that originally appeared on
the début. It may not be brand new but the tight and intimate nature
of the performance is a perfect advertisement to try and catch the
band live if you can.

In terms of production the EP builds
nicely on the foundation of the début album and adds a little more
force to its more dance-orientated numbers while maintaining that
smooth and subtle use of atmosphere that made their previous offering
such a compelling listen.

'The Burning Bridge' is a
beautifully constructed EP that shows that Noir really is in a class
all of its own. The songs are strong, deliriously atmospheric and
addictive in their dance appeal but maintain a stunningly intimate
aura that is refined and full of the kind of skill only a seasoned
performer like Maroulis can bring to them. The new covers are
inspired and the title track is a perfect floor-filler. Hopefully
there will be another full-length round the corner to satiate the
appetites this will have whetted.